Francis Urquhart calls the election but the party is down 13 points in the polls and he will obviously have a hard slog ahead if he is to be reelected. A gas explosion in a block of flats gives the ...
Francis Urquhart is too experienced a politician not to know that everything must end, even his long career as British prime minister. In order to secure his retirement and establish ... See full summary »
A documentary on the making of the three Godfather films, with interviews and recollections from the film makers and cast. This feature also includes the original screen tests of some of ... See full summary »
Francis Ford Coppola,
THE GODFATHER LEGACY goes deep inside Francis Ford Coppola's epic saga about the Corleone crime family and reveals how the Academy Award-winning film and its sequels became one of the most ... See full summary »
Chinese TV-series in 20 episodes based in the eponymous book by 'Boris Vasilyev (I)'. Sergeant Vaskov (Sokolov) is stationed at remote artillery post in Russia during WWII. He is in charge ... See full summary »
Stamper confronts Francis about having a job in higher office after the election, like Home Secretary, but Francis rejects him. In the first House of Cards, Francis was promised a higher post like Home Secretary from Collingridge, but was rejected. See more »
Compared to the first House of Cards, this is a retread of familiar ground, far-fetched in spots, and fizzles out in the 'explosive' finale. It is still fun to watch, and together with Cards, a great primary text.
The narrative tension arises from the fact that the protagonist—Francis Urquhart, now Prime Minister after the events of the first one—is both an actor inside the story and the capricious narrator who in telling it attempts to control that story and his environment, Lolita-wise. (which Ian Richardson has not only known, as anyone in his trade can be expected to, but actually played on the stage, in Albee's Broadway version as apparently Nabokov himself)
We are roped in the story, by Urquhart making the camera a co- conspirator on his side.
This could have been of more interest than the first. The issue of co- conspiratorial viewing more ambiguously rears its head here, because mixed with parliamentary intrigue, the great deceiver is beginning to show signs of doubt and remorse, but knowing him to be a demagogue, can we trust him? Is he lucidly toying with us? Do we open up? It all comes back to Lolita, the seduced younger woman, his mirrored nemesis the current Chief Whip. It is good material, a good text to work from.
Alas, the same problem persists as in Cards.
Urquhart's doubt grows from memories of the first film, the whole Mattie Storin affair. If you haven't seen Cards, he has done something horrible even by his standards, and tormenting visions begin to seep into and disrupt his control.
Now there are two types of film when dealing with cinematic memory, mostly distinct of each other.
Films where memory is a narrative device and the reminiscing self fetches the images as insight into some past story, a category of which this is a part of, and can be relied on for a good jigsaw but hardly much else. Hitchcock usually worked in this way.
And films, much fewer, where true to the function of memory, images steal into the story as insight of the narrating self, images not always in the right order or logical that partly create the self. All the great films (as well as Lolita) fall in this latter category.
So the narrative is clean and logical, which the British do better than anyone. The acting is fine, Richardson above all. But, there is no reason whatsoever for Urquhart to be truly confiding to the viewer, especially now that we see aspects of Urquhart he does not control. Everyone else is being lied to, uncertain and fumbling, but we are not. This is as if Lolita was just a chronicle of mischiefs, missing layers.
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